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The figures of Siegfried Bing and Louis C. Tiffany loom large in the history of decorative arts at the turn of the century.1 Men of great taste, they used their wealth and status to further their very...
Michael Spitzer’s Music as Philosophy: Adorno and Beethoven’s Late Style (Indiana University Press, 2006, ISBN 0-253-34724-6) pursues multiple lines of scholarly enquiry. As a musicological study, the...
This is one of the most unusual books on music that I have encountered in a long time. Its design is eye-catching and it is packed with flights of fancy, such as a subordinate long-title in impecc...
In her book Rethinking Foreign Language Writing, Scott (1996) urges the teaching of writing strategies: “Teachers need to help students develop effective strategies for each phase of the writing proc...
This article considers the manner in which the translators of a selection of subtitled and dubbed versions (English-French) approach the style and tone of the source text in relation to language regis...
Among many great American writers, Hemingway is famous for his objective and terse prose style. As all the novels Hemingway published in his life, The Old Man and the Sea typically reflects his unique...
The paper examines Cantonese tertiary students’ email apology style for personal offences to teachers in their native language (L1, Cantonese) and second language (L2, English) learnt at school by tes...
This paper establishes Igbo English, in creative writing, as a deliberate but significant stylistic device, which arises from the influence or interference of the Igbo language and culture. This m...
Excerpt but meagre results. But such instances are the exception, not the rule. The lyric artist who is gifted merely with a beautiful voice, over which he has acquired but imperfect control, is at ...
The first goal of this paper is to introduce musicologists and music theorists to the benefits offered by state-of-the-art pattern recognition techniques. The second goal is to provide them with a...
As Billie Holiday described her unique brand of vocal expression, she claimed that she wanted the "style" of Louis Armstrong and the "feeling" of Bessie Smith. These aesthetic and expressive goals can...
In her preface to Writing the Circle, Emma LaRocque asks "These are our voices—who will hear?" Perhaps the time has come when non-Natives will stop negating our identities and silencing our voices. Pe...
In his so-called "sonoristic" period of the early 1960s--represented by pieces such as Threnody, Fluorescences, Polymorphia, and others--Penderecki employed a compositional system whose axiomatic conc...
This paper reports a study of the speech of a local prestige community, the upper class of metropolitan Philadelphia, carried out in 1977 and 1978 under an NIMH postdoctoral fellowship. The informants...

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